Maurizio Cattelan; Be Right Back TV

Key Concepts

Maurizio Cattelan, Contemporary Art, Art Market, Authenticity, Performance Art, Institutional Critique, Identity, Spectacle, Vulnerability, Acceptance, Values, Disruption, Controversy, Brand, Asset Class, Guggenheim Museum, Suspension of Belief.

Maurizio Cattelan: An Exploration of Art, Controversy, and the Market

Early Life and Artistic Beginnings

Maurizio Cattelan's early life was marked by poverty and a difficult family situation. He lacked formal schooling and struggled to maintain jobs. Driven by a desire to escape his circumstances, he became interested in art. He recounts a series of "shitty jobs" and a sense of "mere survival," fueling his ambition to become "something else." He saw art as a means of achieving this, recognizing he "had nothing to lose."

Cattelan's early work involved subverting the art world's established norms. He created a sculpture of a house of cards using copies of "Flash Art" magazine, photographed it, and pasted the image onto real copies, distributing them in place of the genuine article. This act was a "study of the art world" and its mechanisms of fame and success, questioning the very notion of authenticity.

Embracing Failure and Institutional Critique

In 1989, Cattelan's first solo exhibition became an exercise in avoiding creation. Overwhelmed by performance anxiety, he locked the gallery and posted a sign saying "Be Right Back." He also engaged in more provocative acts, such as stealing art from a neighboring gallery to display as his own. This act nearly led to his arrest, an outcome he may have welcomed.

Cattelan funded his early career through "The Ouf Foundation," a scholarship that offered money to young artists who agreed not to produce art for a year. Despite the seemingly generous offer, no one accepted, allowing Cattelan to use the funds to move to New York.

New York and the Venice Biennale

Cattelan's move to New York marked a turning point. He met Franchesco Bonami, who became a close friend and collaborator. Bonami's influence led to Cattelan's invitation to the Venice Biennale, a significant event in the art world. However, Cattelan responded by renting out his exhibition space to a billboard company, displaying a perfume advertisement instead of his own work. This act further solidified his reputation for challenging institutional expectations.

Collaboration and Complicity

Cattelan's work often involves collaboration and a degree of complicity from others. In "Perfect Day," he duct-taped his gallerist, Massimo De Carlo, to a wall in a crucifixion-like pose. De Carlo fainted during the performance, requiring medical attention. This piece highlights Cattelan's ability to "commission" others to participate in his art, often in absurd or uncomfortable ways.

The Power of Belief and Manipulation

The documentary emphasizes that contemporary art relies on belief, and successful artists are adept at cultivating this belief in themselves. Cattelan is portrayed as a master manipulator, strategically building relationships to extract what he needs from others, whether it be "friendly sex, uh money, a work, a show." He is described as "surgical" in his approach, understanding what individuals are capable of doing for him.

"La Nona Ora" (The Ninth Hour)

Cattelan's most well-known work, "La Nona Ora," depicts Pope John Paul II struck by a meteorite. The piece generated significant controversy and media attention. Its auction at Christie's for $900,000 marked a turning point in Cattelan's relationship with the art market. The work was seen as sensational and provocative, sparking debate about its meaning and intent. When exhibited in Poland, the sculpture was attacked by members of parliament who attempted to remove the meteorite.

Themes of Failure, Alienation, and Mortality

While Cattelan's work is often perceived as humorous or shocking, it also explores profound themes such as failure, alienation, and mortality. The documentary highlights the "searing critique of power" and the "pain" that underlies many of his pieces. Works like the "suicide squirrel" evoke laughter but also touch on deeper emotions.

"Daddy Daddy"

"Daddy Daddy," a sculpture depicting Pinocchio lying face down in a pool, is interpreted as a commentary on abandonment and despair. The title references the biblical cry of Christ on the cross, connecting the work to themes of suffering and sacrifice. The piece sold for $3.3 million at auction.

The Art Market as an Asset Class

The documentary explores the art market's transformation into an asset class. Art is now perceived as a "hedge against stocks and bonds," attracting investors seeking alternative investments. Cattelan's work, with its global market and visibility, is seen as a financial asset. The documentary highlights the multi-billion dollar art market and the record-breaking auction prices achieved by contemporary artists.

Controversy and Disruption

Cattelan is criticized for creating "jokes" that are only understood by a select few, exploiting the vanity of collectors. His work often challenges societal norms and pushes the boundaries of what is acceptable. Pieces like the sculpture of Adolf Hitler, installed facing a wall, provoke strong reactions and force viewers to confront uncomfortable truths.

"Untitled" (Hanging Children)

"Untitled," featuring three hanging children on a tree branch, is described as an "intensely discomforting" but powerful image. The work explores the limits of what viewers can bear to witness. In Milan, a local man cut down one of the figures, injuring himself in the process and leading to his arrest.

Massimiliano Gioni as Cattelan's Impersonator

For eight years, Massimiliano Gioni impersonated Cattelan, giving interviews and lectures in his place. This act further blurred the lines between reality and fiction, raising questions about authenticity and the role of the artist. Gioni's articulate persona contributed to the mystique surrounding Cattelan's work.

"All" at the Guggenheim

Cattelan's exhibition "All" at the Guggenheim Museum was a groundbreaking event. It involved suspending his entire body of work from the ceiling of the museum's rotunda. The installation was a logistical challenge, requiring extensive engineering and conservation efforts. The exhibition was seen as a disrespectful and anarchic gesture, but also as a vulnerable and tragic statement.

Synthesis/Conclusion

The documentary paints a complex portrait of Maurizio Cattelan as an artist who challenges conventions, provokes controversy, and manipulates the art world to his advantage. His work explores profound themes of failure, alienation, and mortality, while also questioning the nature of art, authenticity, and the market. "All" at the Guggenheim was a culmination of his career, a bold and unprecedented statement that solidified his place as one of the most important and enigmatic artists of our time. The film suggests that Cattelan's art is not easily categorized or judged, but rather requires viewers to engage with its complexities and confront their own values and assumptions.